Israeli ad agency BBR Saatchi & Saatchi in Tel Aviv took the claim “great taste” literally in demonstrating the quality materials that go into the making of the new Ford Kuga. It served Canadian illusionist Eric Leclerc savory hors d’oeuvre bites of the seat, steering wheel, window glass, and engine belt on an elegant silver platter, which Leclerc sampled with euphoric pleasure. The implication is that only the most scrumptious ingredients go into the making of a Ford Kuga. Whether this translates to a superior driving experience or not is debatable, but it got you to watch.
This is terrible news. Dos Equis is sending the “most interesting man in the world” on a one-way trip to Mars. On March 6, 2016, Dos Equis’s Amsterdam-based owner Heineken announced it was retiring the character played by actor Jonathan Goldsmith in favor of someone more appealing to millennials. This is in spite of the fact that Dos Equis beer sales have nearly tripled since the campaign was introduced in 2009. As portrayed by Goldsmith, the Dos Equis man is a blend of Ernest Hemingway, James Bond and Errol Flynn. He is dashing, nonchalantly fearless, at home in any situation and in any part of the world, charismatic, and open to adventures. The Dos Equis man ads, first created by EuroRSCG New York, elevated the lager from a regional brew, mostly known in Texas and California, to one of the world’s best-known brands. And it gave us one of the most memorable taglines: “I don’t always drink beer, but when I do, I prefer Dos Equis. Stay thirsty, my friend.”
Warning to Dos Equis: The next “most interesting man in the world” better not be some hip hop dude with tattoos up the ying yang, earrings, and ever-present cell phone, or a Justin Bieber type. If he is, some older fans will be throwing beer cans at their TV. Some of us are still thirsty for the current “most interesting man in the world.”
Commercials run on the Super Bowl have become their own cultural phenomenon. Costing about $5 million to air a 30-second spot (or $166,666 per second), the commercials reach an estimated 115 million American viewers, and millions more outside of the U.S. Advertisers throw big budgets and top talent at making these spots. In past years, the entertainment quality has been so high that some viewers only watch the game to see the commercials. After the game, people turn to YouTube to see the commercials they missed. This year, however, many advertisers aimed for a pre-game viral buzz by releasing their commercials in advance on TV, YouTube and online platforms.The commercials kinda dribbled out over the past month. The buzz created by millions of people seeing the ads simultaneously for the first time on the Super Bowl was missing. The Super Bowl ads were no longer an event. Without a doubt, there were some terrific ads on the Super Bowl (like the ones shown here), but the thrill of the shared experience is gone. People aren’t coming into the office the next day and chatting with co-workers about their favorite Super Bowl commercial the way they used to.
Read More »
Anyone driving on a dark winter’s night knows that pedestrians and cyclists are difficult to see, especially if they are wearing dark colors. That is why Swedish car maker Volvo has introduced an innovative new safety feature that isn’t part of their vehicles, but is on the cyclists and pedestrians who may cross their path. Developed by creative agency Grey London and Swedish startup Albedo100, LifePaint is a water-based spray-on reflective paint that is invisible in daylight but lights up at night when encountering the glare of automobile headlights. LifePaint can be sprayed on any surface – bikes, helmets, clothes, baby strollers, pet leashes, shoes, wheelchairs, backpacks – without affecting the material or color. Completely transparent by day, it only glows when a headlight shines on it. It wears off in about a week, and washes out completely. To promote its new Volvo cx90, the car maker is giving away free LifePaint samples in bike shops in the UK before rolling the product out to a broader market.
Read More »
SKYY, the American-made vodka, is transforming cities across the country into a knitted wonderland by taking everyone’s favorite ugly holiday sweater and wrapping it around everything from city buses in San Francisco, to bus shelters in Boston and downtown Chicago, to art installations in Manhattan’s Union Square and the Meatpacking District. Available for a limited time during the holiday season, SKYY’s iconic cobalt blue bottles are actually wrapped in blue and white Fair Isle knit sweaters. “Ugly sweaters have become a big pop culture trend, with people theming entire parties around them, and vodka is the number one spirit consumed during the holidays. It was a natural fit to combine the two, ” explains Umberto Luchini, Vice President of Marketing at Campari America.
— SKYY Vodka (@SKYYVodka) November 14, 2015
This is a promotion for a fitness exercise app called 7 Daily Moves by Singapore-based physical trainer Sonam Mehra, founder of Small Spoon Pte. Ltd. Mehra worked closely with tech partner Prakas Donga from India and motion graphic designer Martin Kundby Nielsen from ccccccc in Denmark to demonstrate 48 basic exercise moves in a single GIF. The tiny animated figures are charming to view, and a great condensed version of all the workout moves you need to do to stay fit.
Designers are always in search of ways to convey a message visually without the need for lengthy explanatory text. That’s the charm of this Greenpeace advertising released to coincide with the United Nations Climate Change Conference in Paris last week. Created by London-based Stine Hole Mankovsky, the video and print ads communicate through a shorthand of visual metaphors that are widely understood by the public. Iconic Russian nesting “dolls” tie the story to Russia; stylized icy blue peaks suggest Arctic glaciers, and the decreasing size of the dolls serve as a metaphor for the ever- shrinking habitat of polar bears, which are fast vanishing in numbers. The only text is “Save the Russian Arctic. Greenpeace.” That says it all. Today the gravest threat to polar bears and the Arctic is the unmitigated release of greenhouse gases, which are warming the planet and causing the climate to change.
Read More »
Sainsbury’s, the UK’s largest supermarket chain, has made a holiday TV commercial starring Mog the accident-prone cat, the beloved character in a series of popular children’s books by author Judith Kerr. Although categorized as advertisement, the 3 1/2 minute “Mog’s Christmas Calamity,” is a charming storybook tale narrated by acclaimed actress Emma Thompson in a voice akin to her role in “Nanny McPhee.”
Sainsbury’s ad agency Abbott Mead Vickers BBDO persuaded the 92-year-old Judith Kerr to write and illustrate a new Mog story for the Christmas campaign, despite having “killed off” Mog of old age in her 2002 book, “Goodbye, Mog.” Published in partnership with HarperCollins, the “Mog’s Christmas Calamity” book is being offered for purchase by Sainsbury’s with all proceeds going to Save the Children, a nonprofit dedicated to improving children’s literacy in the UK. Only on the market for a few days, the book has already sold in the thousands.
The Christmas advertisement program itself also has been a huge success with adults who fondly recall reading Mog books when they were young. The Sainsbury’s Mog ad campaign was written by AMV BBDO’s Alex Grieve, art directed by Adrian Rossi, and directed by James Rouse through Outsider.
This is a clever low-tech, low-cost way to simulate motion in print advertising. No need for fancy augmented reality or QR triggers; the woman in the photograph starts her workout routine when the reader opens the magazine spread. The Adidas Forever Sport campaign, named “Designed to Move,” was created by Tequila/TBWA/Hong Kong for the Chinese market.
Read More »
Don’t worry, no pets were harmed in the making of this ad for 3M Lint Rollers. Created by Grey Group Singapore, this print poster campaign for 3M India provides a wildly exaggerated demonstration of how effectively the product picks up pet fur and other types of lint. The Grey Group team included chief creative officer, Ali Shabaz, with art direction by Ang Sheng Jin, photography by Jeremy Wong (Nemesis Pictures), and major retouching by Evan Lim (Magic 3).
Read More »
Insurance companies are their own liability when it comes to describing the services they provide in advertising. Boring. This explains why the insurance giants resort to surreal humor, wild exaggerations, and CGI characters to keep viewers from immediately switching channels. Particularly memorable are Geico ads, which feature anthropomorphic animals such as its gecko mascot, created by Richmond, Virginia-based The Martin Agency. Geico ads have featured other animals too, including a talking duck, pig, squirrel, goat, kraken, and chihuahua. Lately, a smart-ass camel has a starring role. What’s interesting is that the 30-second commercials give viewers no clue what product or brand they are promoting until the last five second closing voiceover. “It you want to save 15% or more on car insurance, get Geico. It’s what we do.” It must work because viewers remember Geico’s tagline.
Read More »
This commercial for Honda does not promote its products as much as it highlights how its “Power of Dreams” philosophy has informed the brand’s approach to innovation and engineering over the years. The animated video, created by stop-motion filmmaker PES, uses sketches drawn on paper as a metaphor for the birth and development of ideas. Combining low-tech and high-tech skills, PES assigned multiple artists to hand draw and color thousands of illustrations and then shot the sketches in-camera to form a continuous “flip-paper” journey through Honda’s 60 year history, from founder Soichiro Honda’s use of a radio generator to power his wife’s bicycle, to the development of motorcycles and outboard motors, to today’s planes and automobiles. Reflecting the passage of time, the paper changes from yellowed fine line drawings to more colorful mechanical renderings. Even as the scenes change with ever-greater speed, the human hand plays a role in every frame. Very thoughtfully conceived and executed.
Read More »
The beauty of Old World craftsmanship is expressed in this Home Run King bat trophy commissioned by Nike. Featuring the exquisite lettering and design of Salt Lake City-based Kevin Cantrell and New York-based Juan Carlos Pagan, the trophy is designed with a typographic treatment that circles the entire circumference of the bat. Richmond, Virginia-based firm, Big Secret, handled production, engineering the artwork to be laser-etched around the bat’s circumference in a seamless finish.
Read More »
This Israeli TV commercial by BBR Saatchi & Saatchi starts by showing the candid reaction of the type of consumers who find their product disgusting and yucky. Then it shows the sublime contentment of a target customer. The message is clear: Strauss Group’s Splendid bitter dark chocolate is meant to appeal to worldly sophisticated palates, and adults don’t have to worry that kids will raid their candy stash.
These are ads that assume viewers have a certain familiarity with how the word game, Scrabble, is played, and enjoy the intellectual pursuit of deciphering connections. Created by ad agency, Twiga, in Kiev, Ukraine, and design firm Tough Slate Design, these print ads are treated as visual anagrams that challenge viewers to combine two disparate things to make a new word – e.g., pen-guin, crow-bar, car-rot, cat-epillar. It’s amusing to imagine combinations of your own.
In Spain, ad agency Lola Madrid and film director Rodrigo Saavedra created a video commercial for Scrabble that turned real words into anagrams, weaving them all together into a fanciful love story. Some of the anagram connections were a bit of a stretch, but not so much that you weren’t charmed by the story line – and creative effort.
Columbus, Ohio-based Danielle Evans, who goes by the firm name Marmalade Bleue, pursues a quirky design genre – food typography. She uses food ingredients to create very ephemeral letterforms, such as in a “Food for Thought” video for Target stores.
On her Marmalade Bleue blog, Evans explains how her approach differs from others who have used food ingredients as a writing medium. “Food type had been used sparingly as one-offs in the past, all of which utilized the materials incidentally without applying a typographer’s touch,” she says. “The novelty of food as lettering trumped the presentation and legibility of the forms. I chose to apply my background in illustration, sculpting, and painting to create letterforms with dimension, play of light and edges, and happenstance flourishes with personality.”
Describing her methodology, Evans adds, “Rarely do I use typefaces or fonts to influence my work, instead I rely on the materials to dictate the best course. I’ve chosen a symbiotic relationship with my materials, suggesting rather than forcing their direction. Lettering allows for incidental flourishes and ligatures associated with calligraphy, the true nature of my work.” Intriguing and beautiful.
Read More »